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CineVerse is a weekly film discussion group that explores the universe of cinema. We meet every Wednesday from 7-10 p.m. in Oak Lawn, Ill. at Oak View Center (4625 W. 110th St., click here for directions) in the theater or the room announced on building signage. At every meeting, we discuss a different movie, chosen by our members on a rotating basis. CineVerse is open to anyone 17 years and older. To join our group or for more info, e-mail Erik the founder/moderator at cineversegroup@gmail.com

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Thursday, March 19, 2015

Hollywood filmmakers were able to be more daring, adult and sexually insinuating prior to the enforcement of the Production Code and onset of the era of censorship in 1934, as evidenced in films like Ernst Lubitsch's "Trouble in Paradise" (1932), quite possibly the most elegant-yet-naughty romantic comedy of the 1930s. CineVerse took the microscope to this finely tailored feature last evening and came away with the following conclusions:

WHAT EXACTLY IS “THE LUBITSCH TOUCH,” AND WHAT IS THE EVIDENCE OF IT IN THIS MOVIE?

Characteristics shared by many Lubitsch films, especially those in the pre-Code era, include: urbane wittiness; suave, sophisticated but sexually playful characters; ample use of sexual innuendos and double entendres; a smooth, gliding, graceful camera, simple setups, and suggestive visuals (e.g., shadow on the bed, clocks)love triangles; stories in which “an essentially solid relationship is temporarily threatened by a sexual rival”, according to critic Greg S. Faller; a feeling that romance can spring up at any time and affect anyone; and plots that blend elements of deception, mistaken identity, role-playing, and fantasy.

Although never definitively defined, the Lubitsch touch has been described as such:

" . . . The Lubitsch Touch, with its frequent Freudian overtone of revealing previously hidden motivations, the sexual story, by an adroit bit of business or a focus on a significant object. -- Leo Braudy

"It was the elegant use of the Superjoke. You had a joke, and you felt satisfied, and then there was one more big joke on top of it. The joke you didn't expect. That was the Lubitsch Touch...." -- Billy Wilder

"A style that is gracefully charming and fluid, with an . . . ingenious ability to suggest more than it showed . . ." -- Leland A. Poague

" . . . a style that hinted at sex, that was playfully adult in its themes, without ever crossing the invisible boundary line that separated smut from genius." -- Saul Austerlitz

WHAT EXACTLY MAKES “TROUBLE IN PARADISE” SO TIMELESSLY ENTERTAINING AS WELL AS DELICIOUSLY NAUGHTY, EVEN TO MODERN AUDIENCES?

As suggested by Criterion Collection essayist Armond White: “it is among the most astute movies ever made about the joys of sex even though it is, primarily, a sparkling abstraction. Each character’s cultured civility only covers up criminal, sexual, human instinct. Within their tuxedos and satin gowns, they reveal animal appetites, recognizable weakness, and enviable wit.”

The coded playfully sexual dialogue is clever and masterful: “I would give you a good spanking—in a business way, of course.” “What would you do if you were my secretary?” “The same thing.” “You’re hired.” / “Where does a lady put her jewelry in a gentleman’s bedroom?” “Uh, on the night table.” “But I don’t want to be a lady.”

The dialogue is uttered in a sort of natural, smooth Mid-Atlantic chic cadence promulgated by Hollywood films to make them sound and feel more European.

Unlike Hollywood films of the Hays code censorship era that followed 2 years later, the characters don’t have to be moral, prudish or pay a price at the end for crimes or transgressions; Marshall and Hopkins enjoy their sinful ways throughout the picture then conclude it by going on their merry way without any remorse or regret.

Unlike so many other romantic comedies that followed, including modern examples, it’s arguably not as predictable, cliché or conventional. Consider what Damon Houx of the DVD Journal wrote about this film: “It communicates a sense of chance that, had things gone a little different, the results might have changed. That may not sound like much, but too often in romantic comedies there are the obvious winners and losers — one only has to look at the aforementioned remake You've Got Mail for evidence of this. From frame one of that film it's obvious that Tom Hanks and Meg Ryan will pair up. However, in Lubitsch's romantic triangle, one could see Gaston heading off with either woman.”

Also, this film feels retro-taboo, like an artifact of a bygone time that would have rocked the boat; plus, it’s languished in relative obscurity, waiting to be discovered by modern film fans who can appreciate lesser-known but quality films worthy of their attention.

WHAT OTHER FILMMAKERS DO YOU THINK WOULD HAVE BEEN INSPIRED BY LUBITSCH AND HIS APPROACH TO ROMANTIC COMEDY?

Subtly sexually suggestive comedies by Howard Hawks, such as Bringing up Baby and Ball of Fire

The naughty comedies of Preston Sturges, including The Lady Eve

The comedies of Billy Wilder, who wrote for Lubitsch

Double-entendre-laden films by Hitchcock, especially To Catch a Thief and North by Northwest